Angus Mac Lise was brought back in as drummer, with Maureen [drummer Moe Tucker] switching to bass.
It led many to describe Gluck as “a difficult woman.” Now Gluck was free to begin a new life.
In the 1920s, Gluck held a first “one man exhibition” of diverse artworks.
The money also enabled Gluck to be the person little Hannah Gluckstein had once dreamed of becoming.
Hair razor cut like a boy’s, a suit handmade by one of London’s finest tailors, and the adopting of the name “Gluck.” Gluck was particular about this new name.
One was Sybil Cookson, the journalist and writer who inspired Gluck’s paintings of horse races and boxing matches.
The couple lived together at Bolton House in West Hampstead, bought by Gluck’s father and maintained by a staff of servants—a cook, a maid, and a housekeeper.
“Lou was sitting on the edge of his bed in a bathrobe,” recalled Malanga.
“Lou was yellow in the face, he had a yellow pall and looked sickly—he always looked sickly.
Back in the hospital, Lou’s paranoia was fed with catty gossip. Yet, Gluck’s parents indulged their daughter thinking this trifling passion for art was mere whimsy, a passing phase. Instead it proved to be three years that changed Gluck’s life and confirmed a startling talent and some deeply held ambitions. Together they eloped to Lamorna, Cornwall to an artists’ colony. This was not the kind of thing a good Jewish girl was supposed to do.
They blamed Craig as a “pernicious influence.” Yet still, when their wayward daughter reached the age of 21, Gluck’s father supplied a trust fund which ably supported the move to Cornwall, where Gluck bought a studio.
With a string of upcoming Chicago dates scheduled for the EPI, and Reed out of commission for weeks, a plan was devised. For the Chicago shows, booked at Poor Richard’s from June 21st through the 26th, original VU percussionist Angus Mac Lise was recruited, and other alterations were made to make up for Reed’s absence.